Month-Going Longcase Clock Project Part 5 - Custom Longcase Hands

Cutting longcase clock hands always seems to be a popular subject. Everyone loves to see raw steel turned into beautifully cut curlicues and then turned a beautiful blue-black.

This is one of those "essential skills" that most clockmakers should learn, but that very few do. There are a few reasons for this. Normally it's a time/money issue. Hand cutting and filing steel longcase hands is a time consuming project, and most clockmakers would prefer to buy laser cut or mass produced replacements rather than spend the time and effort on custom hands. It's also expensive for the clients. Who wants to spend 100$ or more on such small parts? Then again, depending on the clock, you wouldn't want precision-cut copies. When you get into rare early pieces, the value of the clock justifies the price for custom work.

For someone like me, I do this work for fun, so I spend whatever amount of time is needed for the work I'm doing (because it's for me). That said, I will happily cut hands for a client so long as I'm adequately compensated for the work.

Anyhow, I think I'm starting to ramble, so on with it.

Materials Needed for Longcase Hands:

- 1/16" thick steel with a carbon content for bluing (test the steel if needed as not all steel will blue nicely) steel must also be annealed for easy cutting
- Paper pattern
- Saw blades*
- Sand paper and polishes

Tools:

- Jeweler's saw
- Files
- Alcohol burner or small torch
- A bluing tray filled with brass shavings, OR a cast iron skilled filled with fine sand, OR a thick brass plate
- Small vise
- Saw support (a wooden plank with a V sawn on the end)

Step 1: Pattern

Choosing the correct pattern is probably going to be the most important, and the most difficult part of the entire process. If you already know the exact pattern that you need, then give yourself a little pat on the back, and count yourself lucky. If you DON'T know which pattern to use, this is where you will have to do your research.

When I last talked at length about clock hands, it was on the mirror clock project, here: http://jcclocks.blogspot.ca/2015/06/mirror-clock-project-part-7-custom-cut.html. All the same points still apply when dealing with longcase clocks. The wrong hands can seriously affect the overall look and feel of the dial and of the clock. Hands for the period I'm copying (1680s, but with more of a 1740s chapter ring) vary WIDELY in style, shape, and size. It's also important to note that certain style hands look better on certain style dials. There is a huge variety of early square brass dials. Some have large ringed winding holes, wide or narrow chapter rings, centre engraving, seconds bits, etc. Everything needs to be taken into account.

It's also partially left to personal taste. I find that a fair number of clock hands are "ugly" or disproportioned in one way or another. The hour hand may be far too large compared to the hour hand, or I find a certain shape too pointy, too ornate, too plain, etc. Anyhow, after probably a month of debating, I narrowed it down to a particular pair of hands that I found on three similar clocks.

John Knibb London, Circa 1685


Joseph Knibb Month Duration Longcase with Roman Striking, Circa 1685


The third clock (not pictured) is another Joseph Knibb ebony longcase, month duration with Roman striking, and also circa 1685. This one was sold in the "Masterpieces From The Time Museum" sale back in 2004. The case is similar to what I want to build (caddy top, 3 finials, ebony case with no trunk door lenticle, but this one has flat Doric hood columns and I want Barley Twist ones).

The pattern was traced freehand on paper based on the dimensions I needed for my dial.



Step 2: Sawing

The rest isn't rocket science. You saw the hands with a jeweler's saw. All the interior openings have to be cut with a pilot hole to start. I find it easiest to start with the openings. Try to stay outside the lines.



Here you can see my cutting support block. The end has a sort of keyhole shaped opening.





I have yet to find a great way to avoid breaking lots of blades. The only advice I can give is to never push against the blade. Let the blade do the work, and turn corners slowly. You can lubricate the blades with wax or oil, but this may ruin your paper template. The blades also become dull from use as you're cutting. *As a general rule, you need 3 teeth for the thickness of material you're cutting. The thinner the material, the more teeth you need. I believe it's 48 teeth per inch for 1/16 thick stock, but I found that slightly finer blades cut a bit more easily. Experiment and see what works. Luckily jeweler's saw blades are very inexpensive. All these broken blades probably cost about 1-2$ for the lot.



Now, no matter how careful you think you're cutting, the results will probably look something like this:



It's not great, but everything else can be cleaned up with files.

Here is the minute hand. Note that I'm using the other end of my saw support block (which has a narrower key slot).



Here are both rough cut hand blanks:



Step 3: Filing

It's hard to explain filing. I think it's pretty self explanatory. Remove bumps, clean up the lines and shapes, thin areas as needed, and then add any necessary "carved" areas such as leaf grooves, decorative ribbing, etc. Use any file size or shape that's convenient. I used maybe a dozen different ones.





I gave them a fairly smooth polish, but I also didn't go too crazy trying to get beautiful perfect edges. I also didn't completely remove some of the steel's texture from the annealing process. I want them to look 200 years old.



Step 4: Bluing

Bluing hands (or other small steel parts) can be a tricky process. The important part is even heat distribution. There are several ways you can blue hands, and some are easier than others. The traditional method is to heat them in a small metal tray filled with brass shavings. This is done over a flame (usually a blue alcohol flame). Alternatively, you can also use a thick piece of brass, and heat the hands slowly (do one at a time). You can also blue hands very slowly in a bed of hot sand. This is how I blued these hands. I used an old cast iron skillet with fine white sand. This method is very slow, but you have the best chance of success.

If you overheat the steel, you will pass blue and go back to straw. If you overheat the tips of the hands, the colour won't be even. If you screw up, just re-polish the whole hand back to bright steel and try again.

The hands are then quenched in oil or water.

If you want more of a black-blue, and you don't want to mess with heat, you can use gun blue. If you have a particularly odd blend of steel that won't blue correctly or evenly, gun blue can also save you. This was the case for a hand I made several years ago.







Apparently I still had not polished the dial plate at this point. I will have to take more photos later.

Updates on the "Mystery" Wooden Works Clock Case

This is a follow-up post which serves to present additional research done over the past year or so on the orphaned "mystery" wooden works clock case I purchased a while back. The clock in question, as well as some initial research can be seen in this post:

http://jcclocks.blogspot.ca/2014/12/a-rare-find.html

I plan to restore this old clock case, but without a matching example to copy, it becomes difficult guesswork. The following 10 clocks bear some similarities to the orphaned case, and are worth discussing for various reasons.

This first clock is a beautiful piece by Chauncey Jerome & Co., marked Richmond VA. The overall style is much fancier than my mystery case, but the door has 3 divisions (which is generally rare/unusual). The door lock is not a match.



This second clock is a very interesting and unusual clock by Case, Gilbert & Co., Winchester CT. It has a very seldom used top splat pattern, which may or may not be original to this clock, and it features a plain flat front (no columns). The similarities seem to end there, however. This clock is much taller than mine, it doesn't have a 3 piece door, and there are additional lips and square mouldings to the case. As with the previous clock, the use of a door lock is inconsistent.



Here is another oddball. This one by Charles Stratton, and features flat fronts with bird's eye maple veneer. The size seems about right, but the interior dividers (which hold the movement in place) don't span the full height. The top is also missing, which doesn't help much with my clock. It's unclear if the door is held shut by a latch or a lock.



Rob M just posted this unusual Eli Terry Jr. & Co. clock the other day, and it caught my eye. It has a very different top, and no 3pc divided door, but it does have a plain flat front, and it uses a similar door catch.



This one is absolutely beautiful, but the only similarity is the 3pc door. Marshall & Adams, Seneca Falls, NY.



Here is another oddball, and again, only very vaguely related to the mystery clock. This is a rather rare Daniel Pratt clock. It has his often-used triangular columns, but a 2 door design with mahogany in the centre. The overall effect from a distance is similar, but the overall construction and details are very different. Sadly the top is an incorrect restoration, but it's still an interesting piece. I believe this is an 8 day clock, but I'm not 100% sure.



Here we find another 3pc divided door on a Thomas Moses, Auburn NY clock. This clock is unusual for its flat stenciled columns as well as for the divided door. I am generally not a big fan of the plain hump splats, but this one is correct/original.



Here we have a very sad looking clock that has seen better days. It has been very poorly refinished, and the top has been badly restored with a ridiculous looking splat and finial combo. It is unclear if all the front veneers have been ripped off. It is by J.J. Beals, NY. (Boardman & Wells), and it has a plain flat front.



Another beautiful example with a 3pc door. Williams Orton & Preston & Co. Farmington.



Lastly, another ornate clock with a rare 3pc door. Also by Williams Orton & Preston & Co. Farmington.



If you have any similar clocks, either with flat undecorated fronts (no columns), or with 3pc divided doors, even better if the centre panel is mahogany, please let me know.

Massachusetts Shelf Clock Project Part 1 - Initial Planning

I have a wonderful quality movement that I built from a kit a few years ago, and I've been meaning to build a dwarf clock or a Massachusetts shelf clock (early Willard style case) case for it. For a few years (while working on other projects projects) I've been adding to my archives of clock reference photos in preparation for this clock.

After a lot of sifting through all the various photos, I decided that this was the case I liked the most:



The clock is an early 8 day timepiece by Aaron Willard, and the case measures approximately 39" tall (incl the finial) x 13.5" wide. Based on some conversations with a good friend, I felt that this was bit on the large size, so I scaled the clock down slightly to 36".

The clock was planned out and measured using Photoshop, and a grid to accurately measure all the parts of the case. This shows the fretwork.



Full size sketch:





All the patterns for the clock were traced and cut from thin cardboard.



After having traced out the case, it became very apparent that the pendulum length from my movement was not going to work well with this case design. As-is, the pendulum lands in the centre of the French feet. I would need to add about 4" to the height, and I didn't want to mess too much with the original proportions.

Because of this, I decided to trace out "Plan B" which is a clock by Reuben Tower. This clock has a MUCH longer trunk, lovely fretwork to the top, and beautiful decorative veneer work on the base. While I still find the Aaron Willard clock much more classy and stylish, I also quite like this case, and it's one of the designs I kept revisiting.



The Reuben Tower clock is 48.25" tall (incl the finial) and 12.125" wide. This is the only photo I was able to find of this particular clock.

While I like the clock as-is, I decided to shrink the trunk SLIGHTLY, and add a curved base to the bottom of the kidney dial (99% have a curved base and I don't like this flat version).

The same process was used to measure and trace the clock.





The finished clock will be quite large.



Dial is 7" diameter.









One of the advantages of this particular case design is that it features a door in the trunk. Several of the other designs (such as the Aaron Willard) have a fixed bottom panel, which simply creates an inaccessible "well" for the base of the clock. The top hood on all these clocks slides forward to access the movements.